Writing Quotes

मुझे मनोरंजन पसंद है और लगता है कि किसी कला में माहिर होना अच्छी बात है, हालाँकि मैं ख़ुद को किसी उस्ताद की तरह नहीं देखता। अगर किसी थीम का मतलब एक ऐसी कहानी से है जिसे आसानी से समझा जा सके, तो यक़ीनन हम वही करते हैं। लेकिन हम डिज़ाइन को सिर्फ़ एक ऊपर से जोड़ी गई परत की तरह नहीं देखते।

I like entertainment and think mastery is good, though I don't feel like a master. If a theme means having a story that's legible, then that's certainly what we do. But we don't treat design as an add-on layer.

I like entertainment and think mastery is good, though I don't feel like a master. If a theme means having a story that's legible, then that's certainly what we do. But we don't treat design as an add-on layer.

मुझे इस बात ने सबसे ज़्यादा आकर्षित किया कि संवादों के मामले में वह कोई ऐसी नपी-तुली, बिल्कुल सही हालात के लिए बनी एकदम सटीक गाली नहीं थी, जैसी कि हम कभी-कभी 'वीप' (Veep) में करने की कोशिश करते हैं।

What I loved about it was language-wise it wasn't that finely-tuned-perfect-insult-for-the-perfect-situation that sometimes we try and do on Veep.

What I loved about it was language-wise it wasn't that finely-tuned-perfect-insult-for-the-perfect-situation that sometimes we try and do on Veep.

अब जबकि मैं एक पेशेवर लेखक बन चुका हूँ, किसी फिल्म का आनंद लेना थोड़ा मुश्किल हो जाता है अगर वह अच्छी न बनी हो और हॉरर फिल्में तो ज़्यादातर कुछ खास नहीं होतीं, लेकिन जब कोई फिल्म सचमुच बेहतरीन होती है, जैसे मुझे 'द कॉन्जूरिंग' बहुत पसंद आई थी। उसने तो सच में मेरी हवा टाइट कर दी थी।

Now that I'm a professional writer it's a little more difficult to enjoy a movie if it's not well done and a lot of the horror movies are not great, but when something's really good, like I really loved The Conjuring. That just scared the bejesus out of me.

Now that I'm a professional writer it's a little more difficult to enjoy a movie if it's not well done and a lot of the horror movies are not great, but when something's really good, like I really loved The Conjuring. That just scared the bejesus out of me.

हालाँकि वीडियो गेम्स में कहानी कहने का अंदाज़ अब काफ़ी बेहतर हो गया है, मिसाल के तौर पर 'ग्रैंड थेफ्ट ऑटो V' को ही देख लीजिए, जिसकी लिखावट मुझे वाकई बेहद खूबसूरत लगी थी, पर उसे किसी फिल्म की ज़रूरत नहीं है क्योंकि वह खुद में एक फिल्म है। इसलिए मुझे लगता है कि आपको एक ऐसे अनोखे गेम की ज़रूरत है - जिसके लिए या तो आपको कोई बेहद प्रतिभाशाली लेखक और निर्देशक चाहिए जो एक शानदार विज़न तैयार कर सके, या फिर आपको 'मेटल गियर' जैसा कोई गेम चाहिए जो बेहद सिनेमैटिक हो, जिसके पीछे एक बहुत बड़ा इतिहास हो, लेकिन जिसका सिनेमैटिक अनुभव सिनेमाघरों में मिलने वाले अनुभव से बिल्कुल अलग हो।

While the storytelling in games is getting so much better, you look at something like Grand Theft Auto V, which I thought was really beautifully written, it doesn't really need a movie because it is a movie. So I think you need a unique game - you either need an incredibly talented writer and director to come in and put together an amazing vision, or you need a game like Metal Gear, which is very cinematic, has a huge amount of history behind it, but whose cinematic experience is very different from what you'd get in a theater.

While the storytelling in games is getting so much better, you look at something like Grand Theft Auto V, which I thought was really beautifully written, it doesn't really need a movie because it is a movie. So I think you need a unique game - you either need an incredibly talented writer and director to come in and put together an amazing vision, or you need a game like Metal Gear, which is very cinematic, has a huge amount of history behind it, but whose cinematic experience is very different from what you'd get in a theater.

मैं पन्नों के लिए कविताएँ नहीं लिखता क्योंकि लेखन के इस क्षेत्र की मेरी इच्छा संगीत रचना से पूरी हो जाती है। "ऑर्नामेंटल हर्मिट" गाना लिखना मेरे लिए तुलनात्मक रूप से बेहद आसान था, जो कि मेरे मामले में एक दुर्लभ बात है।

I don't write poetry for the page because my inclination in that area is satisfied by songwriting. "Ornamental Hermit" was a comparatively effortless song to write, which is rare for me.

I don't write poetry for the page because my inclination in that area is satisfied by songwriting. "Ornamental Hermit" was a comparatively effortless song to write, which is rare for me.

मेरे डर बहुत स्पष्ट हैं: बाज़ारवादी प्रकाशक—वे चारों के चारों—साहित्यिक उपन्यासों, विदेशी लेखकों, कविता और किताब की दुनिया के अन्य कम लोकप्रिय लेकिन बेहद अहम हिस्सों से और ज़्यादा कतराने लगेंगे।

My fears are the obvious ones: that marketplace-minded publishers - all four of them - will shy further away from literary fiction, international authors, poetry, and the other marginal but hugely important regions of the book world.

My fears are the obvious ones: that marketplace-minded publishers - all four of them - will shy further away from literary fiction, international authors, poetry, and the other marginal but hugely important regions of the book world.

[बॉब] डिलेन के नोबेल पुरस्कार पर मेरा अपना नज़रिया है। वह यह कि मैं पूरी तरह से इसके विरोधियों के खेमे में हूँ। मुझे सच में लगता है कि यह पुरस्कार एक श्रेणीगत भूल (कैटेगरी एरर) है, लेकिन इसकी वजह यह नहीं है। अपने आप में यह बात नहीं है। मुझे जिस बात से परेशानी है, वह श्रेणियों का कथित दर्जा है। यदि पॉप गीतकारों को भी लेखकों और कवियों की तरह इस पुरस्कार के लिए नियमित रूप से विचार किया जाता, तो भी मुझे यह गलती ही लगती, लेकिन तब मुझे इसकी ज़्यादा परवाह नहीं होती। पर मुझे पूरा यकीन है कि उदाहरण के लिए जोनी मिचेल और लियोनार्ड कोहेन, जो लेखन के मामले में कम से कम डिलेन के बराबर हैं, कभी भी इस रेस में नहीं रहे हैं और कभी नहीं होंगे।

[I have] my own view about [Bob] Dylan's Nobel prize. Which is, I'm firmly in the Nay camp. I do think the award is a category error, but that's not why. Not in itself. What bothers me is the perceived status of the categories. If pop lyricists were routinely considered for the prize as are authors and poets, I'd still think it mistaken, but I wouldn't much care. But I am quite certain that Joni Mitchell and Leonard Cohen, for example, both at the very least Dylan's equals as writers, have never been in the running and never will be.

[I have] my own view about [Bob] Dylan's Nobel prize. Which is, I'm firmly in the Nay camp. I do think the award is a category error, but that's not why. Not in itself. What bothers me is the perceived status of the categories. If pop lyricists were routinely considered for the prize as are authors and poets, I'd still think it mistaken, but I wouldn't much care. But I am quite certain that Joni Mitchell and Leonard Cohen, for example, both at the very least Dylan's equals as writers, have never been in the running and never will be.

मैं अपने काम को जितना हो सके उतना स्वाभाविक और सच्चा रखने की कोशिश करता हूँ। मैं चाहता हूँ कि दर्शकों को ऐसा महसूस हो वे दो लोगों को आपस में बात करते हुए देख रहे हैं—ना कि किसी नाटक में अभिनेताओं को अभिनय करते हुए। मैं चाहता हूँ कि दर्शक इस बात में खो जाएँ कि यह कला इतनी बेहतरीन है कि बिल्कुल असली लग सकती है।

I try to make all my work as honest as possible. I want the audience to feel like they're watching two people talking-having a conversation-as opposed to watching actors fake it. I want the audience to get lost in the fact that this is so good it could be real.

I try to make all my work as honest as possible. I want the audience to feel like they're watching two people talking-having a conversation-as opposed to watching actors fake it. I want the audience to get lost in the fact that this is so good it could be real.

एक निर्देशक कहीं से भी आ सकता है, लेकिन यदि आपके पास स्टोरी-टेलिंग का अनुभव है (और कुछ नहीं भी है), तो यह आपके लिए सबसे अच्छा है क्योंकि यह असल में वह इकलौता हुनर है जिसकी आपको सबसे ज्यादा जरूरत होती है।

A director can come from anywhere, but having a story background, if you have nothing else, is probably a good thing to have because it's really the one tool you need.

A director can come from anywhere, but having a story background, if you have nothing else, is probably a good thing to have because it's really the one tool you need.

कलाकृतियाँ—चाहे वे कहानियाँ हों, संगीत हो या पेंटिंग—चूंकि उनमें सच्चाई बनने की शक्ति और संभावना होती है, इसलिए जब उन्हें बार-बार दोहराया जाता है या बयान किया जाता है, तो वे किसी न किसी रूप में इस बात की सच्चाई बन जाती हैं कि अमेरिका क्या है, भले ही वे असल में वैसी हों या न हों।

Artworks, whether fiction, music, or painting, because they have the power and possibility to become truth, when repeated enough or told enough are somehow truth about what America is, whether they were or not.

Artworks, whether fiction, music, or painting, because they have the power and possibility to become truth, when repeated enough or told enough are somehow truth about what America is, whether they were or not.

जब मैं पहली बार नैशविले गया (उस समय तक मैंने इसके बारे में सिर्फ सुनी-सुनाई बातें ही जानी थीं), तो मैंने लिखने के लिए तीन सेशन तय किए थे। पहले दो सेशन रद्द हो गए। उस बात पर मुझे थोड़ा गुस्सा आया। इसलिए मैं वापस अपने होटल के कमरे में गया और लिखने बैठ गया। और भले ही मैं एल.ए. जा चुका हूँ और मैंने बहुत सी चीज़ें देखी हैं, लेकिन आखिर में मुझे ऐसा ही लगता है जैसे मैं किसी पहले बार में जहाँ मैंने कभी परफॉर्म किया था, वहाँ बस एकॉस्टिक गिटार बजा रहा हूँ।

The first time I go out to Nashville, ever (at this point I had only heard the rumors about what it's like) I had three writing sessions set up. The first two canceled on me. I was kind of pissed off at that point. So I just went back to my hotel room and started writing. And even though I've been to L.A. and experienced a lot of things, at the end of the day I just start to feel like I'm playing acoustically at the first bar I ever played at.

The first time I go out to Nashville, ever (at this point I had only heard the rumors about what it's like) I had three writing sessions set up. The first two canceled on me. I was kind of pissed off at that point. So I just went back to my hotel room and started writing. And even though I've been to L.A. and experienced a lot of things, at the end of the day I just start to feel like I'm playing acoustically at the first bar I ever played at.

मैंने नोरा एफ़्रॉन द्वारा माइक मैकेलरी पर फ़िल्म के लिए लिखी गई स्क्रिप्ट्स पढ़ी थीं। हम कभी HBO पर उसे बना नहीं पाए क्योंकि हम सही कास्टिंग नहीं कर पाए थे, और जब मैंने वहाँ से विदा ली तो नोरा को फ़ोन करके कहा, "देखिए, मुझे लगता है कि 'लकी गाय' फ़िल्म के तौर पर अब बदल चुकी है। इस बात की बहुत कम संभावना है कि आप इसे एक फ़िल्म के रूप में बना पाएँ। असल में मुझे लगता है कि यह एक नाटक (प्ले) है।"

I had read the scripts that Nora Ephron had written as a movie about Mike McAlary. We were never able to make it at HBO because we couldn't cast it properly and when I left I called Nora and said, "Look, I actually think that the movie luckyguyindustry has changed. It's very unlikely that you'd be able to make this as a movie. I actually think it's a play."

I had read the scripts that Nora Ephron had written as a movie about Mike McAlary. We were never able to make it at HBO because we couldn't cast it properly and when I left I called Nora and said, "Look, I actually think that the movie luckyguyindustry has changed. It's very unlikely that you'd be able to make this as a movie. I actually think it's a play."

यह नाटक उन कट्टर प्रशंसकों (super fans) को भी पसंद आना चाहिए और उन्हें कमतर नहीं आंकना चाहिए, साथ ही इसे उन लोगों को भी उतना ही भाना चाहिए जिन्होंने शायद कभी 'हैरी पॉटर' की कोई किताब न पढ़ी हो या फ़िल्म न देखी हो।

The play has to work for the super fans, and not speak down to them, and yet it had to play to those people who maybe had never read a Harry Potter book or seen the films.

The play has to work for the super fans, and not speak down to them, and yet it had to play to those people who maybe had never read a Harry Potter book or seen the films.

मैंने कभी भी कालक्रम के अनुसार (क्रोनोलॉजिकल) काम करने की कोशिश नहीं की। मुझे नहीं लगता कि मेरे अंदर वैसी अनुशासनशीलता है।

I've never tried to work chronologically. I don't think I have the discipline to do that.

I've never tried to work chronologically. I don't think I have the discipline to do that.

[पेपर गर्ल्स की] एरिन के जरिए मैं यह दिखाना चाहता था कि 40 साल की उम्र में वह कैसी दिख सकती है, और मैं चाहता था कि यह बिल्कुल असली लगे। प्रेरणा के तौर पर मैंने इसके लिए काफी हद तक अपनी पत्नी का सहारा लिया। एक तरह से यह मुझे एक आधार देने जैसा था ताकि मैं इस किरदार को पूरी तरह से जीवंत बनाने में अपना दिल लगा सकूं।

With Erin [from Paper Girls], I wanted to show what she might look like when she's 40, and I wanted it to feel authentic. In terms of inspiration I ended up using my wife for a lot of it. Just to kind of to give me almost an anchor so that I would be invested in making this character real.

With Erin [from Paper Girls], I wanted to show what she might look like when she's 40, and I wanted it to feel authentic. In terms of inspiration I ended up using my wife for a lot of it. Just to kind of to give me almost an anchor so that I would be invested in making this character real.

हम चाहते थे कि [पेपर गर्ल्स] कॉमिक में अस्सी के दशक की झलक मिले, पर ऐसा बिल्कुल न लगे कि वह उसी दौर में बनाई गई हो।

We wanted the book [Paper Girls] to feel to evoke the '80s, but not necessarily feel that it was drawn then.

We wanted the book [Paper Girls] to feel to evoke the '80s, but not necessarily feel that it was drawn then.

मेरी पसंदीदा कॉमिक्स में से एक हर्नांडेज़ ब्रदर्स की 'लव एंड रॉकेट्स' है। वे यह दिखाने में बहुत अच्छा काम करते हैं कि मैगी का किरदार कैसे उम्रदराज होता है और वे बिना किसी तरह के पूर्वाग्रह या जजमेंट के इसे पेश करते हैं।

One of my favorite comics is Love and Rockets by the Hernandez Brothers. They do such a wonderful job of showing you how the character of Maggie ages and really doesn't present that with any kind of judgment.

One of my favorite comics is Love and Rockets by the Hernandez Brothers. They do such a wonderful job of showing you how the character of Maggie ages and really doesn't present that with any kind of judgment.

सोल संगीत की भाषा... में एक खास गीतात्मक खूबी होती है जो अक्सर किसी भी ऐसे संगीत के अनुकूल नहीं होती, सिवाय उस लगातार और relentless धड़कन के जो गहराई से खर्च हुए विचारों से बहती है।

The language of soul. . . possesses a pronounced lyrical quality which is frequently incompatible to any music other than that ceaseless and relentlessly driving rhythm that flows from poignantly spent ideas.

The language of soul. . . possesses a pronounced lyrical quality which is frequently incompatible to any music other than that ceaseless and relentlessly driving rhythm that flows from poignantly spent ideas.

शॉट कितना भी करीब का क्यों न हो, अगर मैं बहुत ज्यादा नैरेट कर रहा हूँ, तो आपके और उस अनुभव के बीच एक दीवार आ जाती है, क्योंकि किताब पढ़ना, फिल्म देखना या नाटक देखने की प्रक्रिया का मतलब यह होता है कि आप एक सपना देख रहे हैं।

No matter how tight the shot is, if I'm narrating it too much, there's a barrier between you and the experience, because the process of reading a book, or watching a movie, or watching a play is that you're watching a dream.

No matter how tight the shot is, if I'm narrating it too much, there's a barrier between you and the experience, because the process of reading a book, or watching a movie, or watching a play is that you're watching a dream.

मैं खुद को अन्य, धीमी दिशाओं में आगे बढ़ा रहा हूं। मैं जो कुछ लिख रहा हूं वह जरूरी नहीं कि बहुत तेज गति वाला हो; यह एक अलग तरह की तीव्रता है जिसे मैं अब हासिल करना चाहता हूँ, जो अधिक केंद्रित हो। यह देखना अच्छा होता है कि आपने अब तक क्या किया है और यह सोचें कि, "ऐसी कौन सी चीज़ है जो मैंने अभी तक नहीं की है?" यही कारण है कि लंबे समय तक काम करने वाले इतने सारे कलाकार बदलाव करते हैं, और कभी-कभी बहुत अचानक से बदलाव करते हैं, क्योंकि यदि आप खुद इसमें रुचि नहीं ले रहे हैं, तो भला कोई दूसरा इसमें कैसे रुचि लेगा? अगर आप बोर हो रहे हैं, तो बाकी सब भी बोर हो जाएंगे

I'm pushing myself in other, slower directions. Some of the stuff that I'm writing is not necessarily so speedy; it's a different kind of intense that I'm going for now, a more focused intensity. It's good to look at what you've done and think, "What have I not done?" That's why so many artists that have longer careers do change, and sometimes very abruptly, because if you're not interested, how the hell is anybody else supposed to be? If you're bored, everyone else is going to be too.

I'm pushing myself in other, slower directions. Some of the stuff that I'm writing is not necessarily so speedy; it's a different kind of intense that I'm going for now, a more focused intensity. It's good to look at what you've done and think, "What have I not done?" That's why so many artists that have longer careers do change, and sometimes very abruptly, because if you're not interested, how the hell is anybody else supposed to be? If you're bored, everyone else is going to be too.